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Popo

Popo was a coastal kingdom in , encompassing Great Popo (modern Grand-Popo in ) and Little Popo (modern Aného in ), inhabited by the (also known as Xwla or Phla) people who dominated the Togo-Benin littoral during the early . The kingdom emerged as a fragmented cluster of villages that coalesced amid regional conflicts, with European exonyms like "Grand-Popo" deriving from the Hula term for their principal settlement of Hulagan. Its defining characteristic was its pivotal role in the Atlantic slave trade from the onward, functioning as a primary where local rulers supplied captives—often acquired through raids or wars with inland groups—to Portuguese, Dutch, French, and other European merchants in exchange for firearms, textiles, and rum. This commerce fortified Popo's elites but also invited conquest by the expansionist in the 18th century, leading to its subjugation and eventual partition under French colonial administration in the late . Today, the region retains cultural traces of its Hula heritage, including Vodun practices and titles like Onipopo, which reflect possible Yoruba influences from migratory founders.

Slang usages

Police

"Po-po" (variously stylized as popo, PoPo, or po po) denotes officers or in informal English , particularly within contexts. The term functions as a euphemistic or coded reference to avoid direct mention of authorities, often appearing in , street vernacular, and casual speech among demographics interacting frequently with policing. Etymologically, "po-po" arises from of the initial "po" extracted from "," a common phonetic shortening process in formation. Its earliest documented use dates to 1994, though anecdotal accounts trace proliferation to the 1980s in , potentially linked to "PO" abbreviations on uniforms or gear. This origin aligns with broader patterns in , where rhythmic enhances expressiveness in oral traditions. From its American base, the has diffused to other English-speaking regions including the , , , and , as well as via cultural exports like media and migration. In , "popo" entered Cantonese during the late , reflecting American influence amid of pop culture. Independently, "popo" serves as for "politie" () in , though without evident connection to the English form beyond phonetic coincidence. Usage remains non-pejorative in most contexts, distinguishing it from more derogatory terms like "fuzz" or "pigs," but it conveys wariness toward enforcement presence.

Anatomy and other informal terms

In German, Popo functions as a childish euphemism for the or posterior, commonly used in child-rearing and informal speech within -speaking regions. The term emerged in the as a reduplicative form derived from the initial syllable of Podex, the Latin anatomical term for the , reflecting a pattern of baby-talk simplification in euphemistic language. This usage persists in modern , where it contrasts with more vulgar alternatives like Arsch, serving as a polite or non-threatening descriptor for young children. Analogous forms appear in neighboring languages, such as popó, which directly translates to and shares etymological roots in informal, . In Turkish, popo similarly denotes the , often in everyday or familial contexts. These variants highlight a cross-linguistic tendency for short, repetitive syllables in anatomical , prioritizing ease of pronunciation for children over clinical precision. In , popo or po-po occasionally refers to the in , with documented usage traceable to the mid-20th century as an abbreviation and of "posterior." This sense is less prevalent than its application to but appears in informal, humorous, or regional dialects, sometimes overlapping with cultural borrowings from where popo evokes the rear end. Beyond anatomy, popo informally denotes an elderly or grandmother in select cultural contexts, such as certain immigrant communities , though this usage is distinct from bodily references.

In entertainment and fiction

Fictional characters

is a supporting character in Toriyama's Dragon Ball manga and anime franchise, depicted as a genie-like attendant to Earth's Guardian deity, residing on the elevated sanctuary known as Kami's Lookout. He handles maintenance of the Lookout, provides training to martial artists including , , and a young —whom he effortlessly overpowers in combat—and assists in logistical tasks such as transporting individuals via flying carpet. first appears in the storyline following 's climb to the Lookout in pursuit of restoring the Dragon Balls after King Piccolo's rampage, showcasing his role as a capable aide with durability and flight capabilities. Popo serves as one of the dual protagonists in Nintendo's arcade-style platformer video game, released on January 30, 1985, for the Family Computer in . Clad in a blue parka and wielding a , Popo—paired with counterpart in pink—is tasked with ascending procedurally challenging icy peaks to recover produce pilfered by antagonistic condors, navigating obstacles like falling icicles and seals via hammer strikes and cooperative mechanics. As the default player-one character, Popo embodies the game's emphasis on vertical progression and tandem gameplay, with the pair reprising roles in crossover appearances, including as tandem fighters in the series starting with in 2001.

Media titles and references

"Popo" is the title of a 2008 Dutch short comedy-drama written and directed by Richard Raaphorst, centering on a character who remains in perpetual makeup and grapples with personal isolation. In music, "Popo" refers to a album comprising unreleased 1951 recordings by trumpeter and his quintet, featuring saxophonist , with the collection first commercially issued in 1980 on RCA Victor. The 2021 children's picture book I Dream of Popo, authored by Livia Blackburne and illustrated by Julia Kuo, narrates a young girl's immigration from to the and her sustained bond with her grandmother, referred to as "Popo," through dreams and a handmade . "Fishing with Popo," a 2011 Canadian short documentary directed by Wing Yan Lilian Fu, explores the filmmaker's reflections on her late grandmother two years after her passing. The slang term "popo," denoting police, features prominently in dialogue within Tyler Perry's , including the line "I ain't scared of the Popo, call the popo hoe" delivered by the character in Madea Goes to Jail (2009). A comparable reference appears in Madea's Family Reunion (2006), underscoring the term's casual usage in urban American comedic contexts.

Notable people

As a given name

Popo is a unisex given name primarily of Native American origin among the Crow tribe, where it translates to "tall rye grass" and was traditionally conferred on individuals exhibiting strong leadership traits. It appears sporadically in other cultural contexts, such as East Asian nicknames derived from terms for grandmother, though less commonly as a formal first name. A prominent contemporary bearer is Fan Popo (Chinese: 范坡坡; born November 1985), an independent filmmaker, queer activist, and critic based in Beijing. He graduated from the Beijing Film Academy's screenwriting program in 2007 and has directed documentaries addressing LGBT experiences in China, including Mama Rainbow (2012), which profiles elderly gay and lesbian individuals, and Papa Rainbow (2016), focusing on fathers of queer children. Fan has also curated queer film programs and faced censorship challenges from Chinese authorities for his advocacy work.

As a surname or nickname

Sundar Popo (November 4, 1943 – May 2, 2000), born Sunilal Popo Bahora, was a Trinidadian musician of Indian descent widely credited with pioneering , a genre blending Indo-Caribbean folk traditions with and soca elements. His 1969 recording of "Nana and " marked the first commercial chutney hit, establishing him as the "King of Chutney" and influencing subsequent artists through his use of instruments like the harmonium, , and dhantal. Popo's work elevated local Indo-Trinidadian cultural expression, leading to annual tributes such as the competition honoring his legacy. Pauline Esther Friedman Phillips (July 4, 1918 – January 16, 2013), the American syndicated advice columnist who wrote under the pen name Abigail Van Buren for the "Dear Abby" column starting in 1956, was known familiarly as Popo within her family, a childhood nickname shared with her twin sister Esther "Eppie" Friedman Lederer, who created the rival "Ann Landers" column. Phillips' column, distributed to over 1,200 newspapers and reaching an estimated 100 million readers at its peak, offered direct, no-nonsense responses to personal dilemmas, often drawing from her own experiences as a mother and homemaker in Minneapolis and later California. Her straightforward style contrasted with more genteel advice traditions, contributing to the column's enduring popularity despite sibling rivalry with Lederer.

Geography and historical references

Places and regions

Grand-Popo is a coastal commune in the Mono Department of southwestern , bordering and the Atlantic Ocean. It spans 289 square kilometers and had a population of approximately 58,000 as of recent estimates. The area features preserved beaches lined with coconut trees and serves as a historical center tied to the trade and transatlantic slave trade, with European colonial influences from , , and activities beginning in the . Historically, Grand-Popo derives from the ancient kingdom of Hulagan, associated with the Hula or Xwla people who dominated the Togo-Benin coastal region. The original settlement, known as Gbecon, functioned as a lively trading hub before colonial mapping standardized the exonym "Grand-Popo." Today, it remains a site for cultural festivals and eco-tourism, though erosion and border disputes with Togo affect its coastal geography. In , Popo refers to an ancestral village complex in Orokolo Bay, , along migration routes for eastern clans extending up to 125 kilometers. Archaeological evidence indicates continuous occupation from approximately 13 to 455 calibrated years , supported by six radiocarbon dates ranging from early settlement phases to recent pre-colonial activity. The site combines oral traditions with material remains, highlighting its role in regional and territorial histories. The Popo Agie Wilderness, located in Wyoming's within the Wind River Range, encompasses 101,870 acres of subalpine and alpine terrain designated by U.S. Congress in 1984. Elevations range from a minimum of 8,400 feet, with over 20 peaks exceeding 12,000 feet, supporting rugged topography and limited human access for preservation. The name "Popo Agie" originates from language, denoting the headwaters of the Popo Agie River, though the region itself is not directly named solely "Popo."

Natural features

Popocatépetl, often shortened to Popo, is an active situated 70 km southeast of in central . The possesses a summit crater approximately 400 m by 600 m in diameter and reaches an elevation of 5,426 m, ranking as the second-highest peak in Mexico after . As a characterized by layered deposits of lava and material, it has exhibited ongoing activity including fumarolic emissions, ejections, and seismic events, with documented eruptions tracing back to the . Recent data from 1994 onward records increased , sulfur dioxide emissions, and plumes, such as those observed in December 1994 after 70 years of dormancy. In the United States, the Popo Agie River system in Wyoming's constitutes another notable natural feature bearing the name. This river, originating from alpine sources, flows through rugged terrain including Sinks Canyon State Park, where its Middle Fork abruptly plunges underground into a cavern system before resurfacing downstream as a gurgling outflow. The supports diverse ecological functions, irrigating agricultural fields, supplying , and sustaining local wildlife habitats amid high-elevation valleys and peaks exceeding 4,000 m. Geological processes in the area, including formations, contribute to unique hydrological phenomena like the river's disappearance and reemergence over a distance of about 500 m underground.

Controversies and cultural debates

Design and representation in media

Mr. Popo, the genie-like attendant to Earth's guardian deity Kami in Akira Toriyama's Dragon Ball manga and anime franchise, features a distinctive design characterized by jet-black skin, large protruding red lips, pointed ears, a turban, and a diminutive, rotund humanoid form. This portrayal has sparked ongoing debates about racial stereotyping, with critics arguing it evokes blackface minstrel imagery from 19th-century American entertainment, where performers used exaggerated features like darkened skin and oversized lips to caricature Black individuals. Children's author Carole Boston Weatherford described the character as a "grotesque caricature" in a 2017 opinion piece, highlighting how such depictions perpetuate harmful tropes in global media consumed by children. Toriyama, who debuted the character in the 1980s manga serialization starting April 1984, drew from diverse mythological influences, including Middle Eastern genies (djinn) and the Hindu-Buddhist deity , depicted with dark blue-black skin symbolizing the void and transformation rather than racial caricature. Defenders note that Japanese cultural context in the post-war era often incorporated stylized foreign archetypes without the same historical baggage as Western , and Toriyama's oeuvre includes other non-human designs with similar exaggerations unrelated to race. Nonetheless, Western adaptations have altered the design to mitigate perceived offense: Viz Media's English manga release digitally reduced the lip size, while some anime dubs lightened the lips' color from red to pink. In recent iterations, such as the 2024 anime Dragon Ball Daima, which premiered on October 11, 2024, Mr. Popo's lips are rendered without the exaggerated red hue, shifting toward a more subdued palette amid heightened sensitivity to visual stereotypes in international distribution. These modifications reflect broader industry trends where creators' original intents—often prioritizing fantastical exaggeration over realism—clash with critiques amplified by advocacy groups, though empirical analysis of Toriyama's interviews reveals no explicit intent to mock any , attributing features to aesthetic and narrative utility. The controversy underscores tensions in media representation, where source material from non- perspectives encounters reinterpretations shaped by audience demographics and institutional biases in outlets decrying such designs.

Usage in law enforcement contexts

"Po-po" or "popo," a slang term denoting officers, is commonly used by the public in scenarios involving presence or activity, such as alerting others to approaching patrol vehicles or during discussions of arrests and patrols. This usage appears in urban , particularly in hip-hop lyrics and street communications since the 1980s, where it functions as a casual or coded reference to avoid direct mention of authorities. The term's etymology ties to through the abbreviation "PO" for "," reportedly popularized in during the 1980s when officers wore shirts emblazoned with "PO," leading to the reduplicated form "po-po" among locals. Alternatively, it derives from phonetic repetition of the initial syllable in "," a pattern seen in other like "papo" for . This origin reflects early associations with visible, mobile policing units rather than formal departmental terminology. Law enforcement agencies have occasionally engaged with the term in outreach efforts, though such instances have sparked debate. On May 6, 2018, the Lake Orion Department in rebranded itself as "PoPo" on to appeal to younger demographics and foster community rapport, but the stunt faced backlash for potential racial undertones and trivializing work, prompting quick reversal. Officers generally perceive "popo" as non-offensive in neutral contexts but context-dependent, with some viewing it as conveying underlying distrust when used derogatorily by suspects or in adversarial encounters. No official protocols incorporate the term, distinguishing it from internal jargon like "10-4" or "perp."

References

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